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Music | Review: Emmylou Harris helps kick off exciting…

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Music | Review: Emmylou Harris helps kick off exciting new concert series in Napa

Upcoming acts include rufus wainwright, tower of power.

Music fans now have another great reason to visit Napa Valley.

It’s called the Blue Note Napa Summer Sessions and it’s set to bring more than two-dozen headliner acts to the lovely Meritage Resort in Napa over the next four months or so.

Legendary vocalist Emmylou Harris helped kick off the opening weekend of the series on Sunday (May 21), performing a winning 90-minute set of country/folk/Americana tunes in front of approximately 1,000 fans.

The weekend’s other two concerts were Les Claypool’s Fearless Flying Frog Brigade (on Friday, May 19) and Dwight Yoakam (on Saturday, May 20).

It must have been a relief of sorts for the promoters — who also run the Blue Note Napa club in downtown as well as co-produce the Oxbow Riverstage shows — to see the acts actually take the stage, given that this series appeared to be in dire straits as little as three weeks ago.

The concerts were originally supposed to take place at the Silverado Resort, but then a permitting issue and neighbors’ opposition caused Blue Note to do a last-minute pivot and reach out to Meritage to see if a deal could be had to host the shows there.

Although things came together rather quickly, the production that fans witnessed over the weekend felt like anything but a rush job. Instead, fans were all smiles as they sipped wine and enjoyed an array of food items served onsite while enjoying live music in the open-air setting.

Harris kicked off her solid show with a double shot from her fifth studio outing — 1978’s “Quarter Moon in a Ten Cent Town” —  as she first delivered a lovely take on the Carlene Carter-Susanna Clark number “Easy From Now On” and then rambled through the upbeat Delbert McClinton number “Two More Bottles of Wine.”

Fans swayed in their seats on the resort’s big lawn area, enjoying the view of the stage and, further off in the distance, a postcard-worthy framing of the vineyards of Trinitas Cellars and the Napa’s iconic “Grape Crusher” statue.

The concert floor is surrounded on three sides by hotel rooms — 70 of which provide views of what’s happening onstage. Guests, some of whom didn’t even know there was going to be live music when they initially made their reservations, boogied on their balconies without ever having to worry about standing in lines for the bathroom or, really, even needing to get out of their bathrobes.

“What a beautiful night,” Harris said to the crowd. “So glad to here making music for you.”

Harris and her five-piece backing band sounded great as they continued through a series of brilliant covers, ranging from Townes Van Zandt’s mesmerizing “Poncho and Lefty” (a No. 1 country hit for Merle Haggard and Willie Nelson) to the Bill Monroe bluegrass rambler “Get Up John.”

Other highlights from the set included the title track to 2000’s “Red Dirt Girl” and “Born to Run” — no, not that “Born to Run,” but rather the one that can be found on Harris’ 1981 release, “Cimarron.”

Dwight Yoakam also impressed on Saturday with his headlining set, which featured “Streets of Bakersfield,” “You’re the One” and at least a dozen other reasons why he ranks among the best country artists of all time.

Les Claypool’s show on Friday included a complete performance of Pink Floyd’s 1977 masterwork, “Animals.”

Here’s the upcoming Blue Note Summer Sessions schedule. For more information, visit bluenotenapa.com .

Don McLean June 2

Chris Botti June 3 / Two Sets

Rufus Wainwright June 4

Brian Culbertson’s Jazz Getaway June 8-10 June 8: Eric Darius and The Whispers June 9: Con Funk Shun and Brian Culbertson featuring Marcus Anderson, Marqueal Jordan, and Jammin Jay Lamont June 10: Pieces of A Dream and Brian Culbertson featuring Noel Gourdine

Tower of Power June 11

Festival De Verano with La Santa Cecilia, Las Cafeteras and La Misa Negra June 16

St. Paul & the Broken Bones June 18

Jake Owen June 25

An Evening With Judy Collins July 7

Dave Koz and Friends July 8 – 9 / Two Sets Each Night

Marlon Wayans July 15

One Night of Queen July 21

Heather McDonald July 22

Andrew Bird July 23

One Night Of Queen July 21

Carla Morrison August 4

Marcus Miller August 11 / Two Sets

Belinda Carlisle August 18

Madeleine Peyroux August 20

Andrew Dice Clay: Live In Concert / 18+ Sept 2

Three Dog Night Sept 22

Boney James & Lilah Hathaway Sept 24

The Psychedelic Furs & Squeeze October 6

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Emmylou Harris

• Date March 21 , 2024 / Thursday
• Doors Open 6:30 PM
• Start 8:00 PM
• Ticket Prices $59.50 - $119.50
• Venue The Capitol Theatre Port Chester, NY
• On Sale On Sale Now
• Please Note 18+ unless accompanied by a parent or legal guardian. Children under 8 years of age are not permitted. Must be 21+ with a valid ID to consume alcohol.

Event Details

Emmylou Harris: Already celebrated as a discoverer and interpreter of other artists’ songs, 12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. On Hard Bargain, her third Nonesuch disc, she offers 11 original songs—three of them co-written with Grammy– and Oscar–winning composer Will Jennings—that touch on the autobiographical while reaching for the universal. She recalls the storied time she spent with her mentor Gram Parsons (“The Road”) and composes a sweet remembrance of the late singer-songwriter Kate McGarrigle (“Darlin’ Kate”) and the time they spent together, right up to the end. Harris locates poignancy and fresh meaning in events both historical and personal. On “My Name Is Emmett Till” she recounts a violent, headline-making story from the civil rights era in a heartbreakingly plain-spoken narrative, told from the murdered victim’s perspective; on “Goodnight Old World,” she fashions a bittersweet lullaby to her newly born grandchild, contrasting a grown-up’s world-weariness with a baby’s wide-eyed wonder. “Big Black Dog,” with its loping canine-like rhythms, is also a true tale, about a black lab mix named Bella. Harris, who runs a dog shelter called Bonaparte’s Retreat on her property, rescued Bella from the Nashville Metro pound and provided an especially happy ending to her story: “She goes on the tour bus with me now, along with another one of my rescues. I think of all the years on the road I wasted without a dog. They make it so much more pleasant. I’m making up for lost time now, that’s for sure.”

Few in pop or country music have achieved such honesty or revealed such maturity in their writing. Forty years into her career, Harris shares the hard-earned wisdom that—hopefully if not inevitably—comes with getting older, though she’s never stopped looking ahead. The candor of Harris’s words is matched by a simple, elegantly rendered production from Jay Joyce (Patty Griffin, Jack Ingram, Cage the Elephant), with whom she’d previously recorded a theme for the romantic drama, Nights in Rodanthe. While Harris’s acclaimed 2008 All I Intended to Be was recorded intermittently over a span of three years and featured an all-star cast of musician friends, including Dolly Parton, Vince Gill, and the McGarrigles, Hard Bargain was cut in a mere four weeks last summer at a Nashville studio, with only Harris, Joyce, and multi-instrumentalist Giles Reaves. Joyce gets big results from this strikingly small combo: Harris played acoustic guitars and overdubbed all the harmonies; Joyce layered shimmering electric guitar parts; Reaves—employing piano, pump organ, and synths as well as playing percussion—conjured gorgeous atmospherics, often giving these tracks, as Harris puts it, “a floaty, dreamy quality.”

“It’s such a beautifully realized sound,” says Harris. “We didn’t have the need for anyone else given how versatile Giles and Jay are. We became our own little family in the studio. We cut very simply, with just maybe a click and whatever they wanted to play and me on an acoustic guitar, going for that vocal and that feel, right to the heart of the matter. After we got a track, there were all those lovely brush strokes they were able to add to it later on. I particularly love the guitar part Jay put on ‘My Name Is Emmett Till.’ It’s a simple part but it just breaks my heart whenever I hear it. It’s like a cry from heaven or something. Jay works really fast but he puts so much thought into what he does. I’ve been very lucky to work with so many great producers over the years and now I guess it was time to increase the stable.”

On “The Road,” with its layers of reverb-doused electric guitars and harmony-packed chorus, Harris addresses, more forthrightly than she’s ever done in song, the short, life-altering period when she worked with country-rock pioneer Parsons. She and Joyce agreed this rousing number should open the disc, and its theme of coming to terms with the past sets the tone for much of what follows. Explains Harris, “I think you get to a certain point in your life where you do gaze back over the years and it’s sort of a celebration or a thank-you for the fact that you cross paths with people who change you forever. Certainly Gram did that; I did come down walking in his shoes and trying to carry on for him. So I really just told that story the way I see it in my mind, the brief time we had and how I couldn’t imagine that Gram wouldn’t be around forever. Life goes on and unfolds before you, but those people and those events that change you forever are always with you. It was an important event that determined the trajectory of my life and, more than anything, of my work.”

Throughout the disc, Harris contrasts the comforts of long-time companionship with the rigors, and just maybe the rewards, of a more solitary life. The title of “The Ship on His Arm” was borrowed from a Terry Allen drawing that Guy Clark’s wife had given Harris a copy of, and the lyrics were inspired by the story of Harris’s own parents, whose marriage was tested when her Marine father went missing in action during the Korean War: “I made up a story about a young couple who were separated and finally reunited. It’s a tip of the hat to the experience I had as a child, though I can’t imagine what my mother and father were actually going through. I just saw this extraordinary love. I don’t know what they went through to make it even stronger, but they were incredibly in love for 50 years. That’s had a huge influence on me and this song was a roundabout way of telling a little bit of their story—even though my father never had a tattoo.” She chuckles. “The imagery was just too irresistible.”

“Lonely Girl” and Nobody,” which offer markedly different takes on the single life, both began as melodies without words, while Harris was sketching out songs in her Nashville home months before she went into the studio. “Lonely Girl,” about woman still yearning for someone else even at the end of her life, “started with me noodling around in that open tuning. It kind of wrote itself. Having the melody carried me to the end.” Similarly, “Nobody” —whose subject finds herself ready to face, and embrace, the world on her own—evolved out of a chorus Harris had dreamed up: “Once again, choruses are my friend. I had this machine where I could put those harmonies on and I liked the way they spread out like a horn section.”

With her impeccable ear for a great song, Harris found two cover tunes to complete the album, musically and thematically. The sparsely arranged title track, a song Harris had been coveting for a while, comes from Canadian singer-songwriter Ron Sexsmith and describes a lover, friend, or even a guardian angel who repeatedly pulls someone back from the brink of falling apart. Says Harris, “I’m just grateful to have discovered the song. It was there for the plucking. Jay really loved it too and then we ended up calling the album Hard Bargain because it just seemed to tie everything together. The people in your life, and the joy of life, will always bring you back no matter what, and I think that’s echoed in every song in a way. I may be stretching things a little bit but if you had to, ‘Hard Bargain’ would sum up this particular song cycle.”

Joyce’s own luminous “Cross Yourself” serves as a hopeful, ethereal album closer, with a subtly spiritual undertone in its spare lyrics; Harris calls it “the perfect ‘dot dot dot’ song—you know, to be continued.”

And that’s perhaps the overarching message of Hard Bargain: The music, like life, will go on.

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Emmylou Harris & Los Lobos Tour [Concert Review]

Brian Q. Newcomb | August 12, 2021 August 12, 2021 | Concert Reviews , Reviews

Emmylou Harris & Los Lobos: Rose Music Center; Dayton, OH – Saturday, August 7, 2021

Emmylou Harris was singing alternative country before it was cool, long before it was called Americana. With 14 Grammys and a Grammy Lifetime Achievement Award, Harris’ early start singing harmony vocals for the likes of Gram Parsons (The Byrds, Flying Burrito Bros.) made her a go-to session singer on more country albums than anyone has time to name, and led to collaborations with Linda Ronstadt and Dollie Parton, Mark Knopfler (Dire Straits), and Rodney Crowell. When T Bone Burnett produced a country roots revival with his soundtrack for the Coen Bros.’ film “ O Brother Where Art Thou ,” Harris made a major contribution, going on to participate in the concert tour and film, “ Down From the Mountain ,” and toured with Shawn Colvin, Patty Griffin and Buddy Miller, who had been head guitarist in her backing band, Spyboy, in the late 90’s. In 2016, Harris was honored with a tribute concert, “ The Life & Songs of Emmylou Harris ,” which was released as a CD/DVD, and featured the likes of Crowell, Miller, Griffin, Alison Krauss, Lucinda Williams, and Sheryl Crow. As such, the silver haired, golden throated singer had blessed the world with her music, as well as her political activism for issues like ending mountain-top mining, does a year benefit for a Landmine Free World, and animal rights. So, hearing her perform with her ace band, The Red Dirt Boys is like a visit with a living musical legend.

On Saturday night, the 74-year-old walked calmly to center stage, strapped on her big Gibson L-200 namesake acoustic guitar, on the mostly bare stage, surrounded only by her all male band and their instruments. Tonight, like most concerts with Harris, it’s always about the songs, and she immediately started playing the chords to one of her signature selections, “Here I Am.” The gentle ballad built and swelled, and as she would throughout the evening, Harris started playing the next song before the audience finished applauding, The Red Dirt Boys each falling in with her steady rhythmic chording, Eamon McLaughlin playing the melody to Gillian Welch’s “Orphan Girl” on the mandolin, with Phil Madeira playing accordion and adding a harmony vocal. Then saying what the audience with suggesting with their warm applause, Harris greeted the over half full Rose Music Center, “Great to be out and playing music again, with an audience! So, welcome back.”

Next up was “Love and Happiness,” a song she’d originally recorded with Crowell, with Madeira moved to acoustic slide guitar to provide accents. As the applause lightened, she said the name of the song, then added, “but you know, I like those sad songs.” And to that end, she started “Making Believe,” a song made famous by Kittie Wells in 1955, McLaughlin’s violin playing the melody in harmony with Will Kimbrough’s electric guitar, while Harris sang the song’s cries of “oooh, oooh,” as if she meant it. Harris told the crowd that she doesn’t write a lot of songs, because her childhood was too happy to give her material to write about, a gift she was glad to receive from her loving parents. But she got inspired to write the title track of her 2000 album, “ Red Dirt Girl ,” as she was driving back and forth between Nashville and the studio in New Orleans, and seeing a sign for Meridian, Mississippi, started thinking of words that rhymed with “Meridian,” and came up with the story “about the life and death of a red dirt girl named Lillian.”

Her next song was another original, this time she said inspired by listening to a story on NPR, which she called “that bastion of liberal bias called the truth. And sadly everything that happens in this song really happened,” as she sang the story of “My Name Is Emmett Till,” the Jim Crow lynching victim that spawned civil rights activism in the late-50’s and 60’s. It’s performed as a funereal dirge, with the brooding feeling accentuated by the bowing of the upright bass of Chris Donohue and McLaughlin’s violin. And then flip that mood on its head she dove into “Raise The Dead,” a rollicking country song that references “Bill Monroe,” the bluegrass mandolin player that she’d originally recorded with Ronstadt. Here she gave the Boys in the band a little room to stretch, with Madeira on acoustic slide, McLaughlin back on mandolin, and some fine electric guitar from Kimbrough. Which naturally led into an old bluegrass Gospel number by Monroe, the arrangement Harris said she lifted from Marty Stuart, McLaughlin taking his mandolin for a fast run around the track, the Red Dirt Boys all leaning into those twangy vocals on “John… John… John the Baptist,” squealing a bit on the high notes just for fun.

Emmylou quieted things down next for a solo vocal with just the violin and the piano, but it’s not one I recognized but it was a gentle ballad, and again flipped the mood, with “Luxury Liner,” a rip roarin’, rollicking number with fast runs on the piano by Madeira, fiddle playing by McLaughlin, a rare solo on his Telecaster from Kimbrough and the rhythm section of Donohue and drummer Bryan Owings pushing everything toward the conclusion, with Harris proclaimed to the elated crowd, “I hope you’re having as much fun as I am.” Next, Harris led three of her boys in an a cappella Gospel quartet on “Calling My Children Home.” And then turned in a cover of James Taylor’s song about a blue collar “Millworker,” before turning to another Gospel song, this one by Ralph Stanley, “Green Pastures” backed only by mandolin and Donohue singing harmony. “Pancho & Lefty,” the beloved Townes Van Zandt classic that everyone covers, which again allowed the Red Dirt Boys to build to solid country rocker around the accordion and the mandolin, followed by another rowdy one, “Born to Run,” her song, not the one by Springsteen.

To introduce the next song, “Bang the Drum Slowly,” Harris told how she wrote it with the help of Guy Clark after her father died, telling the story of the chance meeting of her parents, and their mixed marriage (he was a Yankee from the north), acknowledging that he had died at 72 and  how weird it felt now she was older than he had been. The song was performed without electric guitar or drums, just the violin and the piano stops set to sound like strings with the bowed bass, then segued nicely into “Shores of White Sand,” with the full band and some acoustic slide guitar, followed by the more dramatic drums on “The Pearl,” with its repeated cries of “hallelujah.” A moving end to her set proper.

But as Harris turned to walk off with her band, she returned to the microphone, saying, “I had a senior moment, I forgot to introduce the band,” then realizing she didn’t need to leave the stage to play an encore, so told us this was going to be it, and led the band into “Evangeline,” a Robbie Robertson song first performed by The Band. Then saying, “There’s never too much butter, or too much salt, and there’s never too much accordion,” bringing out Josh Bata, who had played earlier with Los Lobos, to play the band out on a song she’d down with Crowell, “Leaving Louisiana in the Broad Daylight,” putting a fun zydeco shine on a great evening of music in the open air. Bata offered up more of his speedy virtuoso accordion soloing trading off with McLaughlin’s fiddle, to the entire crowds delight.

As Los Lobos came to the stage to open the night, left handed guitarist Cesar Rosas announced that his main guitar playing foil and the defacto leader of the band, David Hidalgo sent his apologies that he could not be with us for the evening, he’d flown home to be with his family around the birth of a grandchild. So how does a band handle not having their main guitar soloist, well, on this night Los Lobos leaned heavier on tried and true rock & roll numbers where Rosas sings lead, and everyone else just jams. They kicked things off with “Don’t Worry Baby,” the first song on their T Bone Burnett-produced major label debut, “ How Will the Wolf Survive? ,” with Rosas stepping into the role as bandleader, supported by Steve Berlin serving up a great solo on the alto sax. Sticking with old school rock & roll, the jumped right in to “Set Me Free (Rosalee),” which was written by Rosas and Burnett for that same album. This time, Berlin had gone deep on his baritone sax, and the band got solo support from Sammy Avila on Hammond organ, and Josh Bata sitting in on accordion in a fun flashy way on his solo.

They moved to “Cumbia Raza” next, with Rosas singing in Spanish, with Louis Perez playing a traditional acoustic Mexican instrument, a jarana, but it evolved into a loose jam set to the tune’s fun Latin beat. Returning to surer territory, Rosas played the opening to “Shakin’ Shakin’ Shakes,” another early number from the Burnett days. Then letting folk know their new album, “ Native Sons ,” had been out just two weeks, they played the first single, “Love Special Delivery,” a cover from the first East L.A. band to have a top ten radio hit, Thee Midniters. Things may have felt a bit uneasy for the band, but the crowd was responsive to the rock and roll, and seemed revved up by the extended soloing, so it made total sense to try on a blues, “Wicked Rain.”

On uneasy ground, Rosas pulled a familiar riff out of his hat, playing the opening to “Papa Was a Rolling Stone,” the classic rock track from The Temptations, but in short order they segued into the Santana hit, “Oye como va,” which while it felt familiar it was again, loose and jammy, and you could feel the piece stretched out like maybe they just wanted to kill some time, but the crowd seemed more than happy to go along for the ride as bassist Conrad Lozano and drummer Enrique Gonzalez took solos. Next Perez returned to his original position at the drums, as they played a Spanish language Tex Mex number, featuring the showy accordion playing of San Antonio native, Bata, which eventually turned as well into more of a blues vamp, with more singing in Spanish by Rosas. And then, Rosas played that familiar opening riff of “La Bamba,” the Ritchie Valens classic rock & roll number, and the crowd were on their feet, and all was right with the world.

Having seen Los Lobos play some utterly mesmerizing shows, where Hidalgo led them to great musical heights, matching classic guitar bands like the Allman Bros., with that definitive East L.A. mix of Latin roots music and the best of rock, it’s not hard to be sympathetic to the band soldiering on while their leader goes home to support his daughter, and welcome his new grandchild. It’s all good.

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Sunday 03 September 2023

Emmylou Harris

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4066 Pea Ridge Rd. 28756 Mill Spring, NC, US

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